15th Anniversary of Fluxus Art Projects: Yto Barrada & Myriam Ben Salah

Thu 16 Oct

To mark the 15th anniversary of Fluxus Art Projects during Frieze London, the Institut français du Royaume-Uni in London is inviting French-Moroccan multi-disciplinary artist Yto Barrada, who will represent France at the 61st International Art Exhibition of La Biennale di Venezia, and the curator of the French Pavilion, Myriam Ben Salah, for a screening of A Day is Not a Day followed by a conversation and Q&A.

This event is one of the four resonances of the French Pavilion, along with New Delhi, Chicago and Paris and echoes Yto Barrada’ solo exhibition Thrill, Fill, Spill at the South London Gallery (26/09/25 – 11/01/26), which features in the New York Times14 Art Shows Worth Traveling for.

About the film

A Day is Not a Day

2022 | dir. Yto Barrada, two-channel film installation, 16mm film, colour, sound, 2 × 18 mins (loop) 

In this film installation, Yto Barrada entwines a specialised visual vocabulary of age and decay with an exploration of motherhood, inheritance, and subjectivity. These forms, which often seem to accidentally refer to the history of modern art, actually describe fatigue and rot by processes that are imperceptible in real time. The footage was produced at two “weather acceleration” facilities across the US, in Miami and Phoenix. The purpose of these industrial labs is to simulate the effects of the sun in a condensed time frame in order to test the durability of consumer products and materials such as plastics, automotive and domestic parts, paints, and textiles against fading and corrosion. Workers share surreal fields and offices with machines, and it is the human eye that must be constantly calibrated as a tool of measurement. Barrada’s multidisciplinary work draws upon metaphor to emphasize the symbolic, political, and culturally specific context of abstract ideas and forms. She often presents standardised processes alongside their intensely personal ramifications. Here, colour is configured as a measurement of time and the implacable degradations of exposure, evoking rites of passage between the marvellous and the monstrous.

 

 

  • : Photos by Benoît Peverelli & Nicolas Cottong

 
Edinburgh